Advertise on ChoralNet
Novititae Cantus, an electronic newsletter pertaining to chant: Volume 5Date: Wed, 31 Dec 1997 23:54:44 +0100 (MET)
To: jfeiszli@silver.sdsmt.edu From: Guido Milanese Subject: Notitiae Cantus 1997/2 I am hereby sending the new issue of Notitiae Cantus in text form. However, since both HTML and LaTeX files are available, and the output is obviously nicer, I encourage readers to download one of the two versions from my homepages. Moreover, in this issue NC publishes an article in Spanish, and the correct spelling (accents) is not possible using plain Ascii e-mail. Please send your articles and reviews to Notitiae Cantus! Best regards, Guido Milanese Editor of Notitiae Cantus % Guido Milanese - e-mail mc1194@mclink.it % % Universita' Cattolica del Sacro Cuore % % Largo Gemelli 1, I-20123 Milano MI % % Phone: +39.2.72342-750 Fax -740 % % Home: Salita del Passero 11, I-16126 Genova GE +39-10-252959 % # Homepage in English: http://www.geocities.com/Vienna/3023 # # Homepage in Italian: http://www.mclink.it/personal/MC1194 # Notitiae Cantus An International Newsletter for Gregorian Chant and other Repertoires of Western Chant IV 2 1997 INDEX 1 To the Reader -- Lectori b. 1.1 Editorial by Guido Milanese 2 Practica cantus 2.1 El Canto Gregoriano en el Uruguay por Enrique Merello 2.2 Gregorian Chant in Uruguay by Enrique Merello 2.3 Gregorian Chant seminars in Latvia by Ilze Melbikse Notitiae Cantus Subscription to this newsletter through e-mail is free. A hardcopy of Notitiae Cantus will be made available to subscribers who require or prefer this mode of publication. In order to cover the cost of printing and postage, an annual charge of $15 will be asked for this service. Contributions written in languages other then Latin and English must be followed by a translation or abstract in Latin or English. Please direct your comments or questions to the Internet address mc1194@mclink.it. For WWW users, the files are available at http://www.mclink.it/personal/mc1194/gregornc.htm/ or from the archive for rec.music.early on http://www.wu-wien.ac.at/earlym-l/Notitiae.Cantus/ and on ftp://ftp.wu-wien.ac.at/pub/earlym-l/Notitiae.Cantus/. This issue has been sent to 282 e-mail subscribers. Genova, 30 dicembre 1997 Guido Milanese Home Salita del Passero 11, I-16126 Genova GE, Italia Tel. +39.10.252959 Office Universita' Cattolica, Largo Gemelli 1, I-20123 Milano MI, Italia Tel. +39.2.72342-750, fax -740 NON NOBIS DOMINE NON NOBIS: SED NOMINI TUO DA GLORIAM PARS 1 To the Reader -- Lectori b. 1.1 Editorial by Guido Milanese This issue of NC contains a new feature: the article by Enrique Merello on Gregorian Chant in Uruguay is published in Spanish and English. Since NC is now really international, I think that publishing articles in the original languages may be approved by those who can read these languages. An English translation or an English abstract will be published for any article written in languages other than English or Latin. In hoc volumine, lector nobis dilectissime, aliquid novum invenies, scilicet disputationem lingua Hispanica scriptam, non Anglica, disputationem dico v.d. Henrici Merello de Cantu Gregoriano in Uruquariana Republica. Volumina haec nostra, quibus titulus est ``Notitiae Cantus'', vere omnium gentium nunc dici possunt, ipsaque lingua auctorum disputationes emittendae videntur, ita ut ab iis omnibus, qui non solum Anglice dicere possint, maiore delectatione verba legantur. Praeterea, disputationibus neque Anglice neque Latine conscriptis interpretationem Latinam vel Anglicam semper addendam curabimus. PARS 2 Practica cantus 2.1 El Canto Gregoriano en el Uruguay por Enrique Merello Enrique Merello (Jose' Bonaparte 3002, 11600 Montevideo, Uruguay): Gregorianista uruguayo nacido el 21 de marzo de 1962, discipulo del Profesor Nino Albarosa en el PIMS de Roma, del Padre Raul Patri en la Escuela Universitaria de Musica del Uruguay, y del Padre Eugenio Garateguy. Fundador y Director de la Schola Cantorum de Montevideo, ha publicado sobre su especialidad en diversos medios de su pais, y ofrecido disertaciones tanto en el Uruguay como en Europa. En este pequeno pais del Cono sur latinoamericano, de la tradicion gregoriana vernacula no se tiene documentacion anterior a 1824. De esa epoca data la referencia hecha por Jose Sallusti, secretario de la Mision Apostolica Muzi, que tambien integraba el Canonigo Mastai Ferretti -- luego elevado a la Catedra de San Pedro con el nombre de Pio IX -- quien da cuenta de que ``en un pequeno pueblo de indios llamado Durazno'' asistio a una misa ``con canto gregoriano muy bien entonado'' por los propios indi genas. A lo que el mismo cronista agrega: ``como si estuviesen todavia bajo el regimen de aquellos buenos Directores de la Compani a que los habian instruido''. Con ello se hace referencia a la inequivoca procedencia religiosa de estos indigenas, sino a su filiacion etnica, aunque no es dificil deducir que se trate de indios de las Misiones Jesuiticas, dispersos tras la expulsion de la Compania de Jesus de Espana y los territorios de ultramar, en 1767. En la capital Montevideo, entretanto, el conocimiento y practica del gregoriano en el siglo XIX, se confirma mediante los libros supervivientes a la Tercera Orden franciscana que tenia sede en la Iglesia de San Francisco, y su valioso archivo musical, el mas importante del pais. Entre los primeros, se destaca un _Missale Romanum_ impreso en Madrid en 1797, segun el gregoriano residual de la _Medicea_, entonces el unico conocido; el archivo musical, por su parte, permite tomar contacto con los manuscritos anonimos de dos _Misas de Cantollano_, una de ellas incompleta, que ni por su notacion figurada, su ritmo medido y su tonalidad moderna, pueden vincularse con el canto gregoriano autentico. No obstante ello, estas piezas demuestran fehacientemente que la construccion monodica caracteristica de esta _summa_ musical era bien conocida en estas tierras, seguramente mas que por los libros, por el habito de practicarla en los templos locales. Por el espanol entonces, estos pueblos nuevos interpretaban en instrumentos europeos, cantaban gregoriano, polifonia, e incluso se lanzaban a la incierta aventura de la creacion musical, desde la tradicion liturgica romana, y sus formas musicales mas reconocidas. EL SIGLO XX Desaparecidos los amerindios del Uruguay a mediados del siglo pasado, el pais recibio en cambio una fuerte corriente inmigratoria, principalmente de los paises mediterraneos. Esto puede explicar la receptividad en estas tierras a manifestaciones culturales tan tipicamente europeas como el canto gregoriano, y aun el hecho de que, ya en este siglo, sacerdotes como el Padre Pedro Rota, compositor y conocedor de las investigaciones solesmenses, se haya preocupado por poner en practica las directivas liturgicas comprendidas en el _Motu proprio} de San Pio X. En todas las diocesis uruguayas, parroquias, institutos de formacion y comunidades religiosas, comenzo a hacerse oir el gregoriano segun el ``metodo de Solesmes'', y el _Liber Usualis_ de Dom Mocquereau hizo conocer en todo el pais estas melodias, a partir de las versiones restituidas. En los anos `30 inclusive, algunos sacerdotes se consagraban a la docencia, como es el caso del Padre Luis Ochoa, preceptor de personalidades conspicuas en el ambito de la musica _culta_, entre las que destaco el compositor Carlos Estrada. Otros cultores de esta disciplina fueron el Padre Wilhelm Tonnet, Maestro de capilla de la Catedral Metropolitana de Montevideo, y el salesiano Alberto Gonzalez. Pero no siempre el gregoriano sono cuando era debido. Una exhortacion del propio Arzobispo de Montevideo Juan Francisco Aragone en 1940, ya clamaba por un respeto a esta tradicion musical, arguyendo lo establecido por la propia Santa Sede en este sentido, a lo cual no se le consideraba sino parcialmente. Dice a este respecto con palabras energicas, Mons. Aragone: ``Instamos a todos, clero y fieles, particularmente a los mas interesados por su oficio, Parrocos, Rectores, Capellanes, Maestros y Maestras de Coros, Organistas y Cantores, a que se pongan seriamente, una vez por todas, a conocer y cumplir leyes tan necesarias para el decoro de las sagradas funciones, desterrando, total y radicalmente, los abusos que aun quedan. (...) Nadie pues, en adelante, quiera menoscabar con musicas profanas de canto o de organo, la santidad de las funciones eclesiasticas del Culto; no sea que merezca oir la terrible frase de la Escritura: ``Maldito el que hace la obra de Dios defraudandola'', del respeto y santidad que se le debe'', prescribiendo a continuacion el uso del canto gregoriano restaurado, segun la _Vaticana_. LOS ANHOS POST-CONCILIARES La experiencia mas reciente es necesario rastrearla a partir del ultimo Concilio ecumenico el cual, con la admision de las lenguas modernas en la Sagrada Liturgia, precipito la sustitucion de las piezas gregorianas por otras provenientes de repertorios de origen y calidad muy variados, tanto del cantoral hispanico como del latinoamericano, personalizado por su fuerte acento folklorico. En otro sentido, sino la practica liturgica, la ensenanza de la disciplina se vio favorecida, al crearse la Catedra de Canto gregoriano en la Escuela de Musica de la Universidad de la Republica, desde 1980 a cargo del Padre Raul Patri, un discipulo de Dom Cardine en el _PIMS_ de Roma. Pocos anos despues, el Padre Eugenio Garateguy, formado en la _Kirchemusikschule_ de Regensburg durante el ultimo periodo de Mons. Ferdinand Haberl, inicia el dictado de cursos de canto gregoriano -- uno de ellos, ofrecido en 1984 con los auspicios del Ministerio de Educacion y Cultura uruguayo- que luego daran lugar a incipientes organizaciones corales. Entre ellas, el Coro _San Gregorio Magno_ fundado en 1987 que, aunque de vida breve, volvio a hacer resonar el canto gregoriano en las bovedas de los templos y aun en los salones de las instituciones catolicas de la capital uruguaya. Como ultima etapa, cabria mencionar la fundacion de la _Schola Cantorum de Montevideo_ en 1988, por el autor de estas lineas. Se trata de una entidad _sui generis, }organizada como verdadera fraternidad de cantores, con vida de oracion, y vivencia del gregoriano en ese contexto, auspiciada por instituciones tradicionales del medio, entre las que destaca la Asociacion Uruguaya de la Orden de Malta. La _Schola Cantorum_ organiza desde sus mismos origenes cursos y seminarios de introduccion al estudio del canto gregoriano, y orienta su actividad al area divulgativa, a traves de recitales y participaciones en diversos eventos, y al area liturgica, en coordinacion con el cercano Monasterio ``Santa Clara'', donde su Director imparte cursos a las religiosas de esa comunidad (que se constituye ademas en la unica que tiene practica cotidiana de esta musica liturgica en el Uruguay), al igual que en otros conservatorios privados de Montevideo. No resulta aventurado pues, hablar de Montevideo, como una nueva _plaza_ gregoriana: existe en esta ciudad una escuela y una relacion de continuidad en su propia actividad, que da sentido al esfuerzo, y favorece al crecimiento de manifestaciones del espiritu humano tan ricas, como la que nos ocupa. 2.2 Gregorian Chant in Uruguay by Enrique Merello Enrique Merello (Jose' Bonaparte 3002, 11600 Montevideo, Uruguay): Uruguayan Gregorianist born on the 21st of March, 1962, pupil of Professor Nino Albarosa at the PIMS of Rome, of Father Raul Patri at the Escuela Universitaria de Musica del Uruguay, and of Father Eugenio Garateguy. Founder and Director of the Schola Cantorum de Montevideo. He published works on this area in several media of his country, and has given lectures in Uruguay and Europe. In this small Southern country called Uruguay there is no documentation on a Gregorian local tradition prior to 1824. At that time, Jose' Sallusti (who was Secretary of the Muzi Apostolical Mission, also integrated by Cannon Giovanni M. Mastai Ferretti, later promoted to St. Peter's Cathedra as Pius IX) registered that ``in a small Indian town called Durazno''he attended mass ``where a very well tuned Gregorian chant was performed by the Indians, in such a way it seemed they were still under the direction of the good Masters of the Company that had instructed them''. This statement unmistakably refers to the religious heritage of these Indians and not to their ethnical origins, and it's quite easy to deduce that Jose' Sallusti was referring to Indians belonging to the Jesuit Missions. After the expulsion of the Company of Jesus from Spain and from the overseas territories in 1767, these Indians scattered all over the region. Meanwhile in Montevideo, the capital city of Uruguay, the knowledge and performance of the Gregorian chant in the 19th century is confirmed both by the surviving books of the Third Franciscan Order which was established in this city at the San Francisco Church and through its valuable musical archives, the most important of the country. Outstanding among the most ancient books is a _Missale Romanum_ printed in Madrid in 1797, featuring the Gregorian Chant of the _Medicea_, the only edition widely known those times. These music archives also allow us to get acquainted with the anonymous manuscripts of two _Misas de Cantollano_. One of them, not complete, cannot be related to authentic Gregorian chant neither by its figured notation and measured rhythm nor by its modern tonality. Nevertheless, these pieces thoroughly prove that the characteristic monodic construction of the Gregorian musical _summa} was very well known by that time in this territory, probably due to the habit of practicing it in local temples rather than its appreciation through the books. Through the people from Spain then, these new peoples learnt to play European instruments, sang Gregorian chant and polyphony and they even launched out into the uncertain experience of musical creation from traditional Roman Liturgy and its most recognized musical forms. THE 20TH CENTURY After the Indians of Uruguay disappeared in the past mid-century, the country received a strong migratory influence from the Mediterranean countries. This might explain the acceptance of typical Mediterranean cultural expressions such as Gregorian chant, as well as the fact that, in our century, priests like Father Pedro Rota -- a composer acquainted with the Solesmes Abbey researches on Gregorian chant -- had been concerned about putting into practice the liturgical rules of the St. Pius X's _Motu proprio_. Gregorian chant according to ``Solesmes method'' began to be performed at Uruguayan Dioceses, Parishes, Institutes and Religious Communities and Dom Mocquereau's _Liber Usualis_ taught these melodies -- according to the restored versions -- all over the country . Also in the thirties some priests were devoted to teaching. This is the case of Father Luis Ochoa, who was ``praeceptor'' of celebrities in the classical music world (among them an outstanding musician was composer Carlos Estrada). Other priests who developed this discipline were Father Wilhelm Tonnet, _Maestro di Cappella_ of Montevideo Metropolitan Cathedral, and the salesian priest Alberto Gonzalez. However, Gregorian chant was not always performed as it should have been. In 1940, the Archbishop of Montevideo Juan Francisco Aragone claimed for a greater concern for this musical tradition, reminding the prescriptions of the Holy See about this matter. About this precise topic Msgr. Aragone said: ``We urge all the people, clergymen and the faithful and particularly those most interested in it, like principals, chaplains, choir directors, organists, and singers to obey once and for all the necessary laws in order to preserve the dignity of the sacred functions and to put aside the still remaining abuses. (...) Therefore nobody, from now on, should discredit with profane music the sanctity of the ecclesiastical functions of the cult, so as not to deserve hearing the terrible expression of the Holy Scripture: ``Be damned those who perform God's work by deceiving'' the respect and sanctity it is worth of''. In this way he recommended the use of the restored Gregorian chant according the _Vaticana_. AFTER VATICAN II The most recent experience begins with the latest Ecumenical Council. By that time the acceptance of modern languages within the Holy Liturgy accelerated the process of substituting Gregorian repertoire with other music, of multifold quality. These pieces came from the Spanish and Latin American repertories -- the latter emphasizing its strong folkloric nature. On the other hand, the teaching of Gregorian Chant -- but not its practice in the Liturgy -- was favoured by the creation of a Gregorian chant professorship at the _Escuela Universitaria de Musica del Uruguay_, since 1980 directed by Father Raul Patri, a pupil of Dom Cardine's at the _PIMS_ of Rome. A few years later, Father Eugenio Garateguy, pupil of the _Kirchemusikschule_ of Regensburg during Ferdinand Haberl last years, began offering Gregorian chant courses -- one of them in 1984 sponsored by the Uruguayan Secretary of Education and Culture -- which was the starting point of several choral organizations such as the ``San Gregorio Magno'' Choir, founded in 1987. In spite of its short life, it made Gregorian chant sound in churches and even at the Catholic Institutions of the Uruguayan Capital. As a latest stage, the creation of the _Schola Cantorum de Montevideo_ in 1988 by the author of this report should be especially mentioned. It is a _sui generis }institution organized as a real fraternity of singers, where Gregorian chant is performed in a context of prayer. It is sponsored by traditional institutions in the country, including the _Asociacion Uruguaya de la Orden de Malta_. Since its beginning the _Schola Cantorum de Montevideo_ has been organizing courses and introductory seminars to Gregorian chant study. Its activities are focused on divulging the knowledge of this music through live performances and taking part in several musical events. As for liturgy, this institution operates in coordination with the neighbouring ``Santa Clara'' Monastery, which is moreover the only one regularly featuring this liturgical music in Uruguay. Therefore it wouldn't be too hazardous to consider Montevideo as a new ``Gregorian place''. This city has a school and also a constant liaison to Gregorian Chant, and thanks to this continuity our efforts make sense, encouraging the development of deep and profound expressions of human spirit, as the one we are talking about. 2.3 Gregorian Chant seminars in Latvia by Ilze Melbikse Every summer a group of people (approx. 100), interested in learning, using, and ``feeling'' Gregorian chant as a way of real liturgical language, gather for a one-week seminar (about 100 km from Riga), near a small village on the bank of the lake, living in schoolchildren hostel in a quite simple way. Four services are offered daily (one in Latvian, the others in Latin): Laudes, Sexta, Vespers and Completorium. On Sundays there is an Eucharistic Liturgy celebrated by the Lutheran Archbishop. Most of the participants are Lutherans, but there are also Catholics and Ortodoxes. The 1997 edition was the fifth. Further information is available through the Internet: please refer to http://www.lmuza.lv/ and to http://www.icb.nl/musicweek/events.htm. |
Help support ChoralNet by buying via these links
|
